Marimba Paper

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The Evolution Of Solo Marimba Repertoire

The evolution of solo marimba repertoire has taken place almost entirely in this

century. However, no written record of this evolution exists and only small articles in

specialized journals cover the composers and performers who helped it evolve so quickly.

In the following pages, I will attempt to re-construct that evolution using what little

written resources subsist. I have relied largely on the journals of the Percussive Arts

Society and the Instrumentalist as well as sporadic entries in other music magazines and

journals. I have limited my discussion to four-mallet marimba literature that is

unaccompanied.

1

The earliest uses of the marimba as an instrument in European/North American

art and popular music are also somewhat unrecorded. In 1952, Hope Stoddard wrote

“Since 1915 when it made a sensation at the World’s Fair, the marimba has been

popular.”

2

It is unclear when the first four-mallet performances took place. The

marimbists of Mexico and South America usually played the marimba as a group and

some of the accompaniment figures were known to use two mallets in one hand.

3

_(This

allowed the player to create harmony.) In North America, vaudeville percussionists were

known to use this technique and there are also examples in the orchestral glockenspiel

1_{There seems to be a tradition in the early and middle part of this century of performing with piano}

accompaniment for entire recitals. These concerts featured transcriptions for the marimba and piano. I have excluded these because they don’t reflect changes in the technique or prominence of the instrument and its literature. It is interesting to note that accompanied pieces are rare at the time of this writing; unaccompanied solo pieces account for most of the marimba pieces performed now.

2_{Hope Stoddard, “Xylophone, Marimba, Glockenspiel, Vibe” International Musician, (October, 1952)}

24-27.

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literature from as early as 1888 that point to an accepted technique for holding more than

one mallet in one hand.

4

The majority of the early literature (pre-1940) for solo marimba appears to be

transcriptions. In 1948 an article about marimba repertoire by James Dutton, a noted

percussionist and percussion pedagogue, cites only one original four-mallet work.

5

(This

is Op. 11, No. 3 by Clair Omar Musser.) The remaining entries are all transcriptions.

Transcriptions are hard to research because they were usually personal

transcriptions; or, they were a part of a larger collection or book. Also, most programs do

not include the arranger’s name or information. Below is an example of what would

appear on paper as a marimba piece by Bartok.

Bela Bartok, “Peasant Dance”

4_{The glockenspiel part to Rimsky-Korsakov’s “La Grande Paque Russe” (1888) calls for three mallets (two}

in one hand and one in the other): and, Ravel calls for four mallets in the glockenspiel part to the 5th movement of the “Mother Goose Suite” (1912). Also, Respighi calls for three mallets in the glockenspiel part to “The Pines of Rome” (1924).

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This particular example is taken from a method book by Linda Pimental but in a program,

it would be listed as: “Peasant Dance” by Bela Bartok.

6

This makes it difficult to

accurately gauge the importance of these transcriptions to the literature; because, it is not

known how many notes were omitted or to what extent the piece was shortened or

arranged.

Clair Omar Musser remains revered as the instruments first master teacher and

performer. He was also an instrument designer, arranger and composer. In regards to his

compositions David P. Eyler writes:

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Throughout his musical career, Musser wrote and arranged compositions mainly

for marimba and marimba ensembles. By 1941, he had published fifty-three

works, which included piano solos and sacred music, in addition to solos and

arrangements for the marimba and vibraphone. Gordon Stout suggests that

Musser

may have written a total of twelve operas [opuses?] of ten pieces each for

marimba.

Today, there are only a few of these works available, most of which are

published

by Studio Four Publications.

7

Musser’s compositions are prominent in my research, as will be seen when we compare

repertoire from different time periods, but the number is limited to about eight

compositions.

8

Below is the beginning of the Etude in Concerto Major, Op. 6, no. 10.

Musser employs mostly double vertical strokes with a few single independent strokes.

9

Clair Omar Musser, Etude in Concerto Major, Op. 6 no. 10, (measures 1-20)

7_{David P. Eyler, “Clair Omar Musser and His Contributions to the Marimba,” Percussive Notes 28 No. 2}

(Winter 1990) 62-3.

8_{These include: Etude Op. 6 no. 2 with accompaniment; Etude Op. 6 no. 8 in GM; Etude Op. 6 no. 9 in}

BM; Etude Op. 6 no. 10 in CM; Etude Op. 11 no. 4 for 2 mallets; Prelude Op. 11 no. 3 with accompaniment; Prelude Op. 11 no. 7 in DM; and the Scherzo Caprice.

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Musser appears to be the first composer of lasting significance to write for the

instrument. However, his compositions are mostly pedagogical and are not considered to

be serious concert music.

The first major composer to write for the marimba was Paul Creston. He wrote

Concertino for Marimba in 1940.

10

Although this is an accompanied piece, I would like

to discuss it briefly because it undoubtedly influenced many later composers. The first

and third movements are for two mallets only. It is the second movement that employs

four-mallet technique.

11

Most of the chords are in a closed position and the intervals for

each hand do not exceed a sixth. All of the four-mallet playing is chorale style--rolled

chords in four voices. There are no instances of independent strokes by either hand.

10_{For a detailed history of this works genesis and early existence, see Shirley Hixson, “From Whence}

Came Paul Creston’s Concertino for Marimba and Orchestra Opus 21?” Percussive Notes, 14 No. 1 (Fall 1975) 22-3.

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Paul Creston, Concertino for Marimba, Movement II, Measure 23-37

By 1957 when Robert Kurka wrote his Concerto for Marimba, the rules had changed.

The writing was still mostly chorale style, but the music was now polyphonic, the voices

could move independently. Also, the intervals in one hand were as large as a 10th. And,

there are instances when independent stokes are used (only using one of the two mallets

in the hand).

Kurka’s Concerto was written for, and commissioned by, Vida Chenoweth. If

Musser was the first hero of the marimba, Chenoweth was the second. She was the first

to move the mallets independently of one another while rolling. This allowed her to play

Bach chorales where the voices move independently. It also appears that her single

alternating strokes were fast enough to be used for mordents--another first. Like Musser,

she transcribed many pieces for the marimba; but, she claims to have played them note

for note from the original.

I was the first to play polyphonically on the instrument, and to learn to do that

required great patience. It took me nine months to work out my first Bach

chorale.

Bach has opened up all the technique of the marimba for me. Just last

year I learned to do mordents with two mallets in one hand--a feat which I was told

couldn’t be done. The Bach I play is already so beautifully outlined for the

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marimba that I don’t have to alter it. I play all music exactly as written; I never

transcribe or adapt.

12

Like many instrumental pioneers, Chenoweth gave much information to

composers to help them write for her instrument. Here are some of the guidelines she

gave in 1959:

Nearly all second year students can manage four mallets when the harmony is

close or when the voices move chiefly in parallel motion. Only a proficient marimbist

can

control the voice parts independently when leaps as wide as a 5th are called for.

It

takes advanced marimbists also to play two or three voiced polyphonic works (or

four slow moving parts such as Bach chorales)... Intervals played by two mallets

in

one hand should not change rapidly unless the movement is scale wise.

13

The first lasting marimba piece that did not require accompaniment was Suite for

Marimba (1950) by Alfred Fissinger.

14

It was written in four movements with the first

and third in chorale style. Again, intervals of an octave and more are used and the

writing is polyphonic.

Alfred Fissinger, Suite for Marimba, 1st Movement--”Mist” (measures 1-14)

12_{Rafael Krammer, “Marimba,” Musical America 81 (Mar. 1961) 11.}

13_{Vida Chenoweth, “The Marimba: a Challenge to Composers,” International Musician, (November, 1959)}

20-21.

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Notice that the performer has a choice of how to play this opening; he can play the “F’s”

with mallets 1 & 3 and the melody with mallets 2 & 4. Or, he can hold each hand in

octaves and play the “F’s” with mallets 1 & 2 and the melody with mallets 3 & 4.

Before Leigh Stevens and the one-handed roll, 1972ish, performers would probably have

chosen the first way.

The second movement can be played with just two mallets. The last movement

uses four-mallet technique and appears very advanced for its time. This is because the

intervals in each hand change quickly and, Fissinger mixes single independent strokes

with double vertical strokes quickly and often. He also uses a few double lateral strokes

(for example see measure 8 where the sticking would be: 1&2, 3, 2, 4, 3, 1&2, 3).

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Alfred Fissinger, Suite for Marimba, 4th Movement--”Bastogne Convoy” (measures

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Emma Lou Diemer wrote the next important marimba solo in 1957, Toccata for

Marimba. It breaks no new technical ground but still became popular in the repertoire.

My next example comes from Bobby Christian’s book, Contemporary Marimba

Solos (1966)

15

. I have included it to show that marimba technique was beginning to

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Bobby Christian, “Minuet,” (measures 1-11)

This idea was probably first used in transcriptions. Christian’s book was probably meant

as a pedagogical tool to help marimbists gain the technique necessary to play

transcriptions that incorporated two lines at once

16

. The entire piece uses the same

techniques seen in these 11 measures--single alternating and single independent strokes

in the left hand and double vertical strokes in the right.

Six years later in 1972, Paul Siffler composed the last of the important

“pre-Stevens/Stout” literature with his Marimba Suite. He uses all of the important strokes for

marimba in his work--his is the first lasting work to do this in a prominent way. The

15_{Bobby Christian, Contemporary Marimba Solos Book III, (Glenview, Creative Music, 1966) 2-3.} 16_{From the preface: “Bobby Christian’s Contemporary Marimba Solos are designed as supplementary}

teaching pieces and offer the serious student of mallet percussion a modern collection of solos of varying grades of difficulty. Each solo provides an interesting new technical and musical challenge.

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excerpt below illustrates single independent and single alternating strokes in both hands.

He also uses double lateral strokes in the left hand.

Paul Siffler, Marimba Suite, “Prelude-Ostinato (measures 15-27)

Here again, we see two lines being performed at once.

In 1972, there is a huge change in the marimba literature. This is the year that the

Helble Preludes and Leigh Howard Stevens became prominent in the marimba world.

Stevens represents a third generation marimba virtuoso.

17

Stevens synthesized the

positive attributes of both his virtuosic predecessors. Like Musser, Stevens worked very

hard to create great instruments for himself.

18

And, again like Musser, Stevens brought

17_{Stevens studied with Vida Chenoweth; who in turn, studied with Clair Omar Musser.}

18_{Musser actually sold Stevens his personal instrument--”When Clair moved into his apartment and had to}

part with this instrument, he decided that he would like me to have it. I made a special trip to California to purchase it in May of 1980. (Lauren Vogel, “An Interview With Leigh Howard Stevens,” Percussive Notes 21 No. 1 (Oct. 1982), 66-70.) Stevens also made his own instruments and now has his own marimba manufacturing company, Malletech.

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technical innovations that allowed him to play new repertoire. Stevens describes his

technical beginnings:

19

What I’m doing now is really the fourth grip I’ve used. When I first went to the

instrument I started out with the traditional cross grip. Then I went to a music

store to look for some marimba and xylophone literature and came across Gary

Burton’s

books. I learned his grip and used it until about halfway through my

freshman

year of college. After arranging to study with Vida Chenoweth, I

discovered that I

would have to learn Musser grip! I researched some articles and

they made

absolutely no sense to me--the grip seemed cramped, tense, and weak. So,

in a last

ditch effort in the six months before I left for New Zealand, I tried to

modify it in a way that would be versatile enough to live with for the rest of my life.

Much of

what I do today is an outgrowth of that first six months of scrambling.

That’s when I came up with the vertical hand position (in contrast to flat-palmed Musser

players), pivoting around either unused mallet, (instead of lifting the unused

mallet out of the way), and moving the end of the inside mallet through the palm for

larger intervals.

20

He also describes his beginnings in more musical terms:

I made a very important series of “mistakes” when starting Xylophone that proved

to be the foundation of my present career. Number one, I had the notion that

since many chords required four pitches, all mallet players would naturally play with

four mallets. So, from the beginning I was playing with four mallets. The second

mistake I made at the instrument was to sustain a “C” and “G” with the left

hand and play a scale with the right... Yes, a one-handed roll. Then I reversed

it and sustained the two notes with the right hand and played scales with the left. This, I

found out when I got to my first teacher, and confirmed when I got to Eastman,

had

never been done before! That is still a greater shock to me--I can’t imagine why it

hadn’t.

21

And, like Chenoweth, Stevens worked very hard to increase the literature for the

marimba. Reminiscing about his expectations at Eastman (in the early 1970’s) he says:

“I was naive in thinking that there were people out there making a living [playing

the marimba] or even that there was a literature,” he laughs. “There wasn’t

enough

to fill a couple of programs, and most of it was pretty poor when you

19_{See appendix 2 for a description of each of the four grips discussed in this paper.}

20_{Lauren Vogel, “An Interview With Leigh Howard Stevens,” Percussive Notes 21 No. 1 (Oct. 1982),}

66-70.

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compare it to the violin and piano and the Bach and Mozart that other musicians were

playing in

their concerts.”

22

Stevens set out to eradicate this lack of repertoire. He sought out composers to

write for the marimba. One composer that was very important in Stevens development

was Raymond Helble. Helble had never considered writing for solo marimba. Stevens

had developed many new performance techniques but did not have music to showcase

them. Stevens showed these techniques to Helble who incorporated these techniques in

Preludes 1, 2, and 3. Two other sets of three preludes followed in 1974 and 1983.

Preludes 1-3 are composed containing both performance and compositional issues.

Prelude # Compositional Technique Performance Technique

1 (1972)

12-tone row construction, featuring hexachordal partitioning in A and A1

frequent motivic use of ic’s 3 & 4 set-theoretical inclusion relations

one-handed roll

right hand crosses over left hand mallet 3 above mallet 4

2 (1972)

12-tone row construction featuring tetrachordal partitions

frequent motivic use of ic’s 1 & 2 32nd note rhythmic motive

one-handed roll Musser roll

quick interval changes glissandi

dead strokes

3 (1972)

12-tone row construction featuring the BACH motive

counterpoint

one-handed roll

independent line playing

Note that all three are composed with twelve-tone technique and that all incorporate the

one-handed roll.

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I have included the first page of Prelude No. 1 below. Helble wrote this prelude

very quickly. He already had this row in mind for a piece and upon seeing Stevens’

technique decided to use it.

Row in Prelude No. 1

6-z10

6-z39

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This prelude contains more than row forms. It contains sets of pitches that do not fit

anywhere on the matrix. However, Helble has still related them to the hexachordal

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normal order of these set classes, they will map into either the first 6 or last 6 notes of the

row. It is not my intention to give a detailed analysis of this piece; I merely hint at some

of the deeper details of the Preludes to show the Helble’s compositional density and

depth. These were works that had a “seriousness” previously missing in the marimba

literature.

Helble’s Preludes mark a departure in marimba literature in both compositional

technique and performance technique. It was Stevens’ goal to play “serious” music on

the marimba. Helble provided the first example of this “serious” music. Soon, Stevens

convinced other composers to follow Helble’s lead (William Penn and John Serry were

two more Eastman composers who wrote for Stevens during this time period).

In the mid-1970’s, Stevens abilities began to be noticed outside of the Eastman

community. He and Gordon Stout were asked to give a clinic/presentation at the 1976

Percussive Arts Society International Convention in Rochester. Stevens says:

That was probably the largest gathering of percussionists to date. There seemed

to

be a spontaneous interest in what I was doing--probably 99 and 44/100ths of the

audience had never seen a one-handed roll or heard literature that technically

demanding--Helble Preludes, Grand Fantasy, and Bach’s B-flat Prelude and

Fugue.

23

This presentation led to a great change in the percussive community. Stevens’ technique

became very popular soon after this convention. This is reflected in many articles in

Percussive Notes.

The present increased popularity and phenomenal developments in four mallet

keyboard performance which many PAS members have had the opportunity to

experience first hand at the past few Percussive Arts Society International

Conventions has inspired even novice keyboard players to attempt technical

maneuvers and musical subtleties that a few years ago most players would never

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have thought possible. The wonderful performances and discussions of Leigh

Stevens and Gordon Stout at PASIC ‘76 in Rochester set many player’s minds

wondering if it were possible for them to achieve the technical and musical levels

of

mastery of Stevens and Stout.

24

This, of course led to a need for more literature and pedagogical material.

*** * * * * * * * * * ***

The next portion of my paper shows the transformation of the repertoire for solo

marimba. I have chosen to only discuss solo/unaccompanied four-mallet literature. The

majority of my information comes from the “Programs of PAS Membership” in

Percussive Notes.

25

This represents a good sampling of the repertoire being performed.

The problem with this source is the format is not instrument specific. It is often difficult

to determine which instrument was used in a performance. Many transcriptions can be

played on marimba, vibraphone, or xylophone. Also, some pieces can be played as a solo

or a duet. For example, Bach’s Two-Part Inventions were actually published as marimba

duets; but, an advanced marimbist can play some of them as solos. I have only used

pieces that I can confirm were performed on marimba in the following charts.

The list below is taken from an article by James Dutton published in 1948.

26

This

list does not appear to be in any order. I have included the four-mallet selections that do

not require accompaniment. Arrangers are not given for any of these pieces, but almost

24_{Gary D. Cook, “Four Mallet Keyboard Performance: A Concept for Beginning Independant Roll}

Development,” Percussive Notes 17 No. 3 (1979), 56-7.

25_{This is a listing of programs submitted by the PAS membership.}

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all of them are transcriptions. Only the “Etude” by Musser is written specifically for the

marimba.

Composer

Title

Wagner

Dreams

Schubert

Ave Maria

Gounod

Ave Maria

Godard

Berceuse

Tchaikovsky

Chanson Triste

Tonce

Estrallita

Sibelius

Finlandia

Liszt

Liebestraum

Irish

Londonderry Air

Rubinstein

Melody in F

Thome

Simple Aveu

Wagner

Song to the Evening Star

Saint-Saens

The Swan

Tchaikovsky

Andante Cantabile

Grieg

Ase’s Death

Raff

Cavatina

Verdi

Celeste Aida

Musser

Etude Op. 11 No. 3

+

Dvorak

Humoresque

Rubinstein

Kammenoi Ostrow

Dvorak

Largo (New World)

Saint-Saens

My Heart at Thy Sweet

Voice

Rubinstein

Romance

Tchaikovsky

Romeo and Juliet

Chaminade

Scarf Dance

Compare the repertoire list from 1948 to this list from 1967-1971. (I include a piece in

the lists that I prepared if it is performed three or more times.)

Composer

Title

# of Performances

Musser, Clair Omar

Etude in CM Op. 6 No. 10

11 Diemer, Emma Lou

Toccata for Marimba

10

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Fissinger, Alfred

Suite for Marimba

10 Musser, Clair Omar

Etude in BM Op. 6 No. 9

9 Bach, J. S.

Toccata in D Minor

5 Musser, Clair Omar

Etude in GM Op. 6 No. 8

4 Schuman, William

Traumeri

4 Bruce, Neely

Three Canons

3 Debussy, Claude

Theme from Reverie

3 Musser, Clair Omar

Etude in e Minor

3 By the time of this list, transcriptions are less popular than works written for the

instrument. Also, these pieces rely less on chorale style and more on double vertical

strokes and independent strokes.

The following list is based on a survey taken by Merrill Brown covering the

1971-1972 school year.

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Of the twenty pieces listed on his list under “Mallet Solos,” only

three are for marimba without accompaniment.

Composer

Title

# of Performances

Musser, Clair Omar

Etude for Marimba

8 Diemer, Emma Lou

Toccata for Marimba

7 Fissinger, Alfred

Suite for Marimba

6 Brown does not differentiate between Musser Etudes. In this list, there are no

transcriptions. But, the four-mallet section of the Diemer is written in a chorale style.

Compare that with this list taken from an article by David P. Eyler.

28

_{Eyler’s survey}

covers from the Spring of 1976 to the Spring of 1979. He bases his listing on entries

from Percussive Notes. He lists fifty solo compositions covering all of the percussion

instruments. Again, I have extracted the solo marimba pieces and placed them in a table.

27_{Merrill Brown, “Repertoire for Percussionists,” The Instrumentalist, (February, 1977), 67-70.} 28_{David P. Eyler, “The Top Fifty Percussion Solo and Ensemble Compositions of Today,” Percussive}

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Composer

Title

# of Performances

Stout, Gordon

Two Mexican Dances

58 Musser, Clair Omar

Etude in CM Op. 6 No. 10

48 Musser, Clair Omar

Etude in BM Op. 6 No. 9

44 Fissinger, Alfred

Suite for Marimba

43 Stout, Gordon

Five Etudes for Marimba

33 Miki, Minoru

Time for Marimba

33 Tanaka, Toshimitsu

Two Movements

29 Sifler, Paul

Marimba Suite

24 Peters, Mitchell

Yellow After the Rain

24 Musser, Clair Omar

Etude in GM Op. 6 No. 2

17 Smith, Sharon

Suite Moderne for Marimba 14

Diemer, Emma Lou

Toccata for Marimba

14 Note that the majority of these pieces do not rely on chorale style writing. Also, for the

first time, we begin to see more advanced strokes being used, especially in the two entries

composed by Gordon Stout.

Gordon Stout was/is a marimba virtuoso that was at Eastman around the same

time as Leigh Stevens. He was mentioned above as presenting at the 1976 PAS

convention. Like Stevens, Stout contributed a great deal through his playing

29

; but, he is

also a composer. His compositions are invaluable in that they reflect the growth of the

technique and were of the “serious” nature that Stevens was trying to foster. And, though

Stout appears to have been less fixated on technique than Stevens (his pieces do not

contain the technical “tricks” of a Stevens-inspired Helble piece), his pieces represent

compositions by someone who plays the instrument and they reflect the technical

possibilities available to advanced marimba performers.

For example, the Stout “Dances” require double lateral strokes (both inside and

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Gordon Stout, Two Mexican Dances, Movement 2, (measures 1-8)

The opening requires the sticking: 1234 243 234 243. Immediately, in one measure,

Stout requires double lateral inside and double lateral outside strokes. The rhythms

require a delicate and not-mechanical usage of these techniques. The frequency of

performance implies that there were many people that had the ability to perform these

techniques.

It is at this same time that the pedagogical articles in the various journals began to

focus on the different strokes. (Prior to this time, they mainly focused on learning the

grips.) They also referred to the different mallet combinations as permutations. And, by

learning certain permutations, you would master the different strokes. In 1979 Mario

Gaetano writes:

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Crossing hands, sustained tones in one hand while a melody is executed in the

other, and the employment of three or four melodic lines simultaneously are no

longer strange, infrequent occurrences, they are the rule and can be found in much

of the literature released within the past five years.

30

He follows this with a series of permutation exercises. His is just one article in a large

body of articles designed to help the student master the new music.

By 1990, the repertoire had expanded quite a bit. The following list is for the year

1990 only. Compare the number of entries with the previous lists. The number of entries

to Percussive notes is not significantly more; but, the amount of solo marimba entries is

much greater. It has become much more common for students to perform difficult solo

marimba repertoire.

Composer

Title

# of Performances

Smadbeck, Paul

Rhythm Song

10 Abe, Keiko

Michi

8 Musser, Clair Omar

Etude in BM Op. 6 No. 9

8 Stout, Gordon

Two Mexican Dances

8 Tanaka, Toshimitsu

Two Movements

8 Fissinger, Alfred

Suite for Marimba

5 Peters, Mitchell

Yellow After the Rain

5 Maslanka, David

My Lady White

4 Miki, Minoru

Time for Marimba

4 Miyoshi, Akira

Conversation

4 Peters, Mitchell

Sea Refractions

4 Abe, Keiko

Dream of the Cherry

Blossoms

3 Abe, Keiko

Memories of the Seashore

3 Abe, Keiko

Variations on Japanese

Children’s Songs

3 Edwards, Ross

Marimba Dances

3 Helble, Raymond

Grand Fantasy

3 Musser, Clair Omar

Etude in CM Op. 6 No. 10

3 Skoog, Donald

Water and Fire

3 Tchaikovsky, Piotr I.

arr. Stevens

Album for The Young

3

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With the exception of the Fissinger, Peters, and Musser pieces, all of these entries require

advanced marimba technique.

In conclusion, I see a definite evolution of the solo marimba repertoire. It is

technique-based and was greatly influenced by the virtuoso players: Musser, Chenoweth,

Stevens and Stout. In the preceding charts, one can see the increase in technical demand

as time progresses. Also, the number of reputable composers writing for the marimba

increases from year to year.

31

Transcriptions have all-but been replaced by a repertoire

written specifically for the instrument. And, there is an increasing number of performers

with the ability to perform this repertoire.

Appendix No. 1 -- Stroke types

31_{Marimbists can now boast of pieces written by some of the leading composers of our time: Joseph}

Schwantner, Jacob Druckman, Andrew Thomas, John Serry, John Corigliano, Milton Babbitt, Alec Wilder, and the list keeps growing.

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Below is a listing of all the possible single non-rolled strokes used in four-mallet

technique.

32

The mallets are numbered from left to right--1, 2, 3, 4.

Name

Description

Single independent outside

Single notes to be played by an outside

mallet (1 or 4)

Single independent inside

Single notes to be played by an inside

mallet (2 or 3)

Single alternating

Single note patterns to be played by the

same hand, alternating the inside and

outside mallets (1212 or 3434)

Double vertical

Double notes to be played simultaneously

by the same hand (1 & 2 or 3 & 4)

Double lateral inside

Fast, rhythmically adjacent notes to be

played by the same hand--inside mallet to

outside mallet (2-1 or 3-4)

Double lateral outside

Fast, rhythmically adjacent notes to be

played by the same hand--outside mallet to

inside mallet (2-1 or 4-3)

These six stroke types are usually reduced to four categories:

1. Single independent

2. Single alternating

3. Double vertical

4. Double lateral

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Appendix 2--Four-Mallet Grips

There are four common four-mallet grips in use today: traditional, Burton, Musser, and

Stevens. Below is a brief explanation of each as it appears in Stevens Method of

Movement.

33

It is important to note that each of these grips can be attached to a virtuoso

player and they all have their advantages and disadvantages.

34

Traditional: The shafts of the mallets are crossed in the palm of the hand with the

outside mallet shaft under the inside. The grip operates on a spring-tension principle with

fingers 3 and 4 supplying the closing energy, and the thumb and finger 1 supplying the

opening energy.

Burton: The shafts of the mallets are crossed in the palm of the hand with the outside

mallet shaft on top of the inside. The grip operates on an axle-type pivot principle with

fingers 3 and 4 supplying most of the opening and closing energy (by pushing and pulling

on the shaft of the inner mallet).

Musser: The shafts of the mallet are held in different sections of the hand with the inside

mallet being controlled by the thumb and fingers 1 and 2, and the outside mallet being

controlled by mallets 3 and 4. The grip operates basically on a horizontal pendulum

principle with the interval opening and closing energy being supplied in a number of

different ways.

Stevens: This grip is a child of the Musser grip. It is very similar in its grasp of the

mallets, but the hand position and the mechanics of its use are different. The Musser

hand position calls for the palms to face down while the Stevens grip faces the palms

almost vertical. This grip is similar to the Burton grip in that there is a pivot motion

between the mallets. The opening and closing energy is provided by the fingers and a

rolling motion as well as the pivoting of the mallets.

Marimba Productions, 1979), 24-37.

33_{Leigh Howard Stevens, Method of Movement, (New York, Marimba Productions, 1979), 8.}

34_{Although not mentioned in this paper, Gary Burton is a phenomenal four-mallet vibraphone player. The}

Burton grip is named after him. The traditional grip is used Keiko Abe and many other famous marimbists today. So, while its name implies that it is old, it is still very much in use.

(27)

The traditional and Burton grips are often described as crossed-stick or dependent grips

because the shafts of the mallets criss-cross in the palm of the hand. The Musser and

Stevens grips are sometimes described as independent grips because the shafts of the

mallets are held in separate parts of the hand and are never in contact with one another.

Appendix 3--1967-1971

The table that appears in the paper (and immediately below) is based on the database

below.

Composer

Title

# of Performances

Musser, Clair Omar

Etude in CM Op. 6 No. 10

11 Diemer, Emma Lou

Toccata for Marimba

10 Fissinger, Alfred

Suite for Marimba

10 Musser, Clair Omar

Etude in BM Op. 6 No. 9

9 Bach, J. S.

Toccata in D Minor

5 Musser, Clair Omar

Etude in GM Op. 6 No. 8

4 Schumann, William

Traumeri

4 Bruce, Neely

Three Canons

3 Debussey, Claude

Theme from Reverie

3 Musser, Clair Omar

Etude in e Minor

3

Perf Year Composer Title Instrument Performer Comments Special

2/16/70 Albeniz, Isaac Leyenda Marimba Krause, Kenneth No information

given

University of Georgia

10/26/67 Bach Jesu, Joy of

Man’s Desiring

Marimba MacCallum Frank K.

Marimba Recital No information given

5/12/66 Bach - Moore Toccata in D Minor Marimba no individual names given Studio Class Recital Ohio State University 3/29/67 Bach - Moore Toccata in D

Minor

Marimba Unger, Gerald D. Faculty Recital Northeast Louisiana State College 8/15/67 Bach - Moore Toccata in D

Minor

Marimba no individual names given

Faculty Recital National Music Camp

5/20/68 Bach - Moore Toccata in D Minor

Marimba no individual names given

Studio Recital NTSU

4/5/70 Bach J. S. - Moore arr. Toccata in D Minor Marimba Meyer, Jacqueline No information given Indiana State University

9/30/70 Bach, J. S. Chorale Marimba Chenoweth, Vida Guest Artist

Recital

Roosevelt University 2/16/70 Bach, J. S. Chorale No. 142, Marimba Krause, Kenneth No information University of

(28)

Schwing’dich auf deinem Gott

given Georgia

6/30/68 Bach, J. S. Come Sweet

Death

Marimba Elias, Sheldon No information given American Conservatory of Music 12/18/66 Bach, J. S. Concerto in A Minor (BWV 1041, arr for Marimba)

Marimba Williams, J. Kent Graduate Recital Indiana University

10/8/67 Bach, J. S. Concerto in D minor

Marimba Britton, Mervin Marimba Recital First Methodist Church of Tempe

7/8/68 Bach, J. S. Sonata in F

Minor

Marimba Tanner, Peter H. Faculty Recital University of Wisconsin at Eau Claire 6/2/71 Bach, J. S. - Jones arr. Come Sweet Death Marimba No information given

Student Recital Triton College

7/8/68 Beethoven Sonata in G

Major, Op. 30 No. 3

Marimba Tanner, Peter H. Faculty Recital University of Wisconsin at Eau Claire

10/26/67 Bellini Norma: Chorus,

March and Finale from Act I

10/26/67 Boito Two Selections

from Mefistofele

10/26/67 Bordet, Ch. Litanie Marimba MacCallum

Frank K.

11/4/67 Brahms -

Joachim

Hungarian Dance No. 7 for Violin

Marimba Hurtado, Celso Marimba Recital Orangewood Academy Auditorium

4/26/71 Bruce Three Canons Marimba Meyer,

Jacqueline

No information given

Indiana State University 2/19/69 Bruce, F. Neely Three Canons for

Marimba

Marimba O’Connor, G. Allan

Faculty Recital Northern Illinois University 4/7/71 Bruce, Neely Three Canons for

Marimba

Marimba Brown, Allen No information given

Western Michigan University

10/26/67 Chopin Mazurka Op. 33,

No. 2

2/9/71 Chopin - Musser arr.

Prelude, Op. 28, No. 7

Marimba Seymore, James No information given

Northwestern State University (La.)

3/11/70 Christian Fancy That Marimba ? Studio Recital Carnegie Mellon

University

2/6/68 Christian Hawaiian Mood Marimba no individual

names given

Studio Recital Ohio State University

3/25/71 Christian Rondino Marimba No information

given

Percussion Recital

Jenkins Music Company 6/1/71 Christian, Bobby A Roman

Holiday Marimba No information given Chamber Music Recitals National Music Camp

12/5/67 Christian, Bobby Falling Snow Marimba no individual names given

Studio Class Ohio State University 5/6/70 Christian, Bobby Rondino Marimba Morris, Mark Faculty Recital University of

Tampa

5/30/66 Cornejo, R. Kandingan Marimba Crisologo,

Ernestina

5/30/66 Cornejo, R. Lulay Marimba Crisologo,

Ernestina

5/30/66 Cornejo, R. Phillipine Fantasy

Marimba Crisologo, Ernestina

(29)

5/30/66 Cornejo, R. Walay Angay Marimba Crisologo, Ernestina

Marimba Recital No information given 9/12/65 Cornejo, Rodolfo arr. Phillipine Fantasy: a Medley of Phillipine Folk Music Marimba Crisologo, Ernestina

Marimba Recital Mar & Piano Recital (One Player) NY World’s Fair 9/12/65 Cornejo, Rodolfo arr. Phillipine Folk Music: a Concert Arrangement Marimba Crisologo, Ernestina

Marimba Recital Mar & Piano Recital (One Player) 11/5/70 Debussy - Jolliff arr. Theme from Reverie

Marimba Prebys, Scott No information given Indiana State University 4/29/69 Debussy, Claude - Jolliff Theme from Reverie

Marimba Hardt, Herb No information given

Indiana State University 3/11/70 Debussy, Claude

- Peterson

Clair De Lune Marimba Hollar, David No information given

Indiana State University

10/26/67 Delibes Three Selections

from Lakme

4/30/67 Diemer, Emma

Lou

Toccata for Marimba

Marimba Fatzinger, Gail C.

Senior Recital Indiana University of Pennsylvania 10/8/67 Diemer, Emma Lou Toccata for Marimba

Marimba Britton, Mervin Marimba Recital First Methodist Chuch of Tempe 1/11/68 Diemer, Emma Lou Toccata for Marimba Marimba no individual names given

Student Recital University of Missouri

Lou

Toccata for Marimba

Marimba Garvin, Roger Junior Recital Indiana State University 4/8/69 Diemer, Emma Lou Toccata for Marimba Marimba Ragucci, Anthony F. No information given Butler University 2/28/70 Diemer, Emma Lou Toccata for Marimba Marimba Howard, Douglas No information given University of Tennessee 5/7/70 Diemer, Emma Lou Toccata for Marimba

Marimba Towner, Robert No information given University of Illinois 9/23/70 Diemer, Emma Lou Toccata for Marimba Marimba No information given

Faculty Recital University of Massachusetts

Lou

Toccata for Marimba

Marimba Towner, Robert No information given University of Illinois 7/23/71 Diemer, Emma Lou Toccata for Marimba

Marimba Walsh, Edward C.

University of Iowa 11/4/67 Dinicu - Heifetz Hora Staccato Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium

4/16/67 Fissenger Suite for

Marimba

Marimba Dutton, James Junior Recital American Conservatory of Music

4/9/67 Fissenger Suite for

Marimba Unaccompanied

Marimba Dickinson, Arlene and Paul

Percussion Department Recital American Conservatory of Music

6/30/68 Fissenger, Alfred Suite for Marimba

Marimba Elias, Sheldon No information given

American Conservatory of Music

2/24/70 Fissinger Suite for

Marimba

Marimba No information given

Studio Recital Ohio State University

Marimba

Marimba Bircher, Jr., John C.

University of South Carolina 4/29/70 Fissinger, Alfred Suite for

Marimba

Marimba Kuisma, Rainer No information given

Kammarmusiksa len - Folkliga Musikskolan 3/17/71 Fissinger, Alfred Suite for

Marimba Marimba Parmelee, Douglas No information given North Texas State University

(30)

5/3/71 Fissinger, Alfred Suite for Marimba Marimba Ramonas, Edward No information given Western Connecticut State College 10/28/71 Fissinger, Alfred Suite for

Marimba Marimba No information given Phi Mu Alpha Recital East Carolina University 11/23/71 Fissinger, Alfred Suite for

Marimba

Marimba Smith, David L. No information given

Western Connecticut State College 4/5/70 Fluegel, Neal Rhapsody for

Marimba Marimba Meyer, Jacqueline No information given Indiana State University

4/9/67 Franck Panis Angelicus Marimba Dickinson,

Arlene and Paul

5/31/67 Franck, C. Panis Angelicus Marimba no individual names given

Studio Class Ohio State University 5/15/66 Gagnebin, Henri March of the

Jolly Fellows

Marimba Agriesti, Lou Graduating Recital Series

Ohio State University

6/26/69 Gandt arr. Lute

Transcriptions for the Marimba

Marimba Gandt, William No information given University of Missouri-Columbia 11/4/67 Godowsky - Heifetz

Alt Wien Marimba Hurtado, Celso Marimba Recital Orangewood Academy Auditorium 10/19/71 Grainger, C. Rondo for

Marimba

Marimba McGriff, Robert A. No information given Northern Illinois University 10/8/67 Handel, George F.

Chaconne Marimba Britton, Mervin Marimba Recital First Methodist Chuch of Tempe 11/10/69 Hatch, Earl Furioso and

Valse in D Minor Marimba No information given No information given North Texas State University

11/16/69 Hatch, Earl Furioso and Valse in D Minor

Marimba No information given

Honors Recital North Texas State University

3/3/71 Hatch, Earl Furioso and

Valse in D Minor

Marimba Bettis, Gary C. No information given

North Texas State University

5/3/71 Hatch, Earl Furioso and

Valse in D Minor

Marimba Locke, Gary No information given

University of Redlands

9/12/65 Haydn Rondo Marimba Crisologo,

Ernestina

Marimba Recital Mar & Piano Recital (One Player) 4/25/67 Hewitt, Henry Preludes for

Marimba

Marimba Frock, George Faculty Recital The University of Texas 11/5/67 Holloway,

Ronald

Rhapsody for Marimba

Marimba Hardt, Herb Junior Recital Indiana State University 11/20/68 Holloway,

Ronald

Rhapsody for Marimba

Marimba Schaefer, George No information given

Indiana State University 11/4/67 Hurtado, Celso El Quetzal Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium 11/4/67 Hurtado, Celso Gypsy Dance Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium 11/4/67 Hurtado, Celso Indita Coquetta Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium 11/4/67 Hurtado, Celso Lamento Gitano Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium

(31)

11/4/67 Hurtado, Celso Miniature Ballet Waltz

Marimba Hurtado, Celso Marimba Recital Orangewood Academy Auditorium 11/11/71 Jolliff, Art - arr. Theme from

Reverie

Marimba Dolan, Melinda No information given

Indiana State University 2/16/70 Krause, Kenneth Two-Mallet

Toccata for Marimba

Marimba Krause, Kenneth No information given

University of Georgia

7/8/68 Kreisler - Green Caprice Viennois Marimba Tanner, Peter H. Faculty Recital University of Wisconsin at Eau Claire

11/4/67 Kreisler, Fritz Libesfreud for Violin

Marimba Hurtado, Celso Marimba Recital Orangewood Academy Auditorium 10/8/67 Lassus, Orlando Oculus Non

Vidit

Marimba Britton, Mervin Marimba Recital First Methodist Chuch of Tempe 10/8/67 Lassus, Orlando Sancti Mei Marimba Britton, Mervin Marimba Recital First Methodist

Chuch of Tempe 6/23/68 Lassus, Orlandus Oculus Non

Vidit Marimba MacDonald, Janice No information given Adams State College 6/23/68 Lassus, Orlandus Sancti Mei Marimba MacDonald,

Janice No information given Adams State College 5/25/70 Luther, Martin - Moore A Mighty Fortress

Marimba Bonner, J. Brian No information given

Ohio State University 10/26/67 MacCallum

Frank K.

Hymne Divin Marimba MacCallum

Frank K.

Marimba Recital No information given 10/26/67 MacCallum Frank K. Paean in Phrygian Mode Marimba MacCallum Frank K.

10/26/67 Massenet Madrilene from

Le Cid

5/12/70 Matthies, Eloise Miniatures for Marimba

Marimba Oestmann, Faye Marie

Wheaton College

11/21/71 Matthies, Eloise Miniatures for Marimba

Marimba Unger, Gerald D. No information given

North Texas State University 11/4/67 Mendelssohn Allegro Molto

Vivace from Concerto Op. 64 for Violin

7/8/68 Moszcowski Spanish Dances,

Op. 12, Nos. 1, 2, & 5

2/9/71 Musser, Clair Etude, Opus 6, No.9

Marimba Seymore, James No information given

Northwestern State University (La.)

4/9/67 Musser, Clair O. Etude in B Major Marimba Dickinson, Arlene and Paul

9/30/70 Musser, Clair O. Etude in B Major Marimba Chenoweth, Vida Guest Artist Recital

Roosevelt University 10/20/70 Musser, Clair O. Etude in C Marimba Ervin, Karen No information

given

University of Southern California 9/30/70 Musser, Clair O. Etude in C Major Marimba Chenoweth, Vida Guest Artist

Recital

Roosevelt University 7/29/71 Musser, Clair O. Etude in C Major Marimba Dunavan, Daniel

O.

DePaul University 12/9/69 Musser, Clair O. Etude in C

Major, Prelude in G Major, and Etude in B Major Marimba Kastner, Kathleen No information given Wheaton College

(32)

2/16/70 Musser, Clair O. Etude in Cmajor Marimba Krause, Kenneth No information given

University of Georgia 4/9/67 Musser, Clair O. Etude in E Minor Marimba Dickinson,

Arlene and Paul

9/30/70 Musser, Clair O. Etude in Whole Tones

Marimba Chenoweth, Vida Guest Artist Recital

Roosevelt University 9/30/70 Musser, Clair O. Prelude in G

Major

Marimba Chenoweth, Vida Guest Artist Recital Roosevelt University 11/11/71 Musser, Clair Omar Etude in A Major, Op. 6, No.2; Prelude, Op. 11, No. 3; Etude in Concerto Major, Op. 6, No. 10

Marimba Born, Brenda No information given

Northwestern University

4/29/70 Musser, Clair Omar

Etude in Cmajor Marimba Kuisma, Rainer No information given Kammarmusiksa len - Folkliga Musikskolan 3/11/70 Musser, Clair Omar Etude, Op. 6, No.9 in B Major

Marimba Lutz, Patricia No information given Indiana University of Pennsylvania 1/11/68 Musser, Claire O.

Etude in A Flat Marimba no individual names given

Student Recital University of Missouri 2/23/67 Musser, Claire

O.

Etude in C major Marimba no individual names given

Studio Class Ohio State University 5/11/67 Musser, Claire

O.

Etude Op. 6, No. 9 BM

Marimba Clark, Carole Graduate Recital Northeast Lousiana State College 6/7/68 Musser, Claire O. Etudes in B Major and E minor Marimba Students of Shelfon Elias No information given Drums Unlimited--Chicago 5/12/66 Musser, Claire Omar Etude in C Major, op. 6, no. 10 Marimba no individual names given Studio Class Recital Ohio State University 5/11/69 Musser, Claire Omar Etudes Op. 6, Nos. 9 and 2 BM & CM

Marimba Herzog, Fey No information given University of Missouri-Columbia 3/29/67 Musser, Claire, O. Etude for Marimba Op. 6, No. 8 G Major

Marimba Unger, Gerald D. Faculty Recital Northeast Louisiana Stae College 6/30/68 Musser, Claire, O. Etudes in B major and E minor

Marimba Elias, Sheldon No information given

American Conservatory of Music

5/7/69 Musser, Omar Etude in CMajor Marimba Kreutzer, William

Wichita State University

11/4/67 Paganini Moto Perpetuo Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium 11/4/67 Paganini - Wilhelmj Concerto No. 1 for Violin

Marimba Hurtado, Celso Marimba Recital Orangewood Academy Auditorium 5/30/66 Paterno - Solis -

Crisologo

Sampaguita Marimba Crisologo,

Ernestina

Marimba Recital Concert Presented by the Phillipine NY Jaycees 5/30/66 Payawal -

Sacremento

Manang Biday Marimba Crisologo, Ernestina

1/10/71 Peters, Mitchell Sonata Allegro Marimba Sisney, Carolyn R.

Peoria Amateur Musical

(33)

10/26/67 Ponchielli Spaventevole Festino from La Gioconda

9/12/65 Saint-Saens My Heart at Thy Sweet Voice

Marimba Crisologo, Ernestina

Marimba Recital Mar & Piano Recital (One Player) 9/30/70 Sanders, Dean Suite for Solo

Marimba

Marimba Chenoweth, Vida Guest Artist Recital

Roosevelt University

9/12/65 Sarasate Gypsy Airs Marimba Crisologo,

Ernestina

Marimba Recital Mar & Piano Recital (One Player) 11/4/67 Saraste, Pablo de Introduction and

Tarentelle, Op. 43 for Violin

10/26/67 Satie Gymnopedie No.

1

7/8/68 Schubert Sonatina in D

Major, Op. 137, No. 1

10/26/67 Schubert Who Is Sylvia Marimba MacCallum

Frank K.

4/7/69 Schubert - Musser

Serenade Marimba Fyfe, David A. No information

given

Butler University

4/9/67 Schumann Traumeri Op. 15,

No. 7

Marimba Dickinson, Arlene and Paul

Percussion Department Recital American Conservatory of Music 5/9/67 Schumann - Jolliff

Traumerei Marimba Jernstad, Warren Senior Recital Indiana State University

2/28/68 Schumann,

Robert - Jolliff

Traumerei Marimba Ganduglia,

James

Graduate Recital Indiana State University

1/6/71 Schumann,

Robert - Jolliff arr.

Traumerei Marimba Gordon, Bernard No information given

Indiana State University

5/30/66 Sinta -Cornejo, R.

Leron-Leron Marimba Crisologo,

Ernestina

5/3/71 Skavaninsky Scherzo for

Marimba Marimba Ramonas, Edward No information given Western Connecticut State College 4/30/70 Teleman - Hatch arr. Sonata for Marimba

Marimba Holen, Mark No information given Central Michigan University 10/8/67 Telemann, George

Sonata No. 1 Marimba Britton, Mervin Marimba Recital First Methodist Chuch of Tempe 12/4/70 Ulrich, Eugene Suite No. 1 for

Marimba

Marimba Mouradian, Paul No information given

University of Buffalo

11/4/67 unknown Amaneciendo Marimba Hurtado, Celso Marimba Recital Orangewood

Academy Auditorium

Appendix 4--1990

The table that appears in the paper (and immediately below) is based on the database

below.

Composer

Title

# of Performances

(34)

Abe, Keiko

Michi

8 Musser, Clair Omar

Etude in BM Op. 6 No. 9

8 Stout, Gordon

Two Mexican Dances

8 Tanaka, Toshimitsu

Two Movements

8 Fissinger, Alfred

Suite for Marimba

5 Peters, Mitchell

Yellow After the Rain

5 Maslanka, David

My Lady White

4 Miki, Minoru

Time for Marimba

4 Miyoshi, Akira

Conversation

4 Peters, Mitchell

Sea Refractions

4 Abe, Keiko

Dream of the Cherry

Blossoms

3 Abe, Keiko

Memories of the Seashore

3 Abe, Keiko

Variations on Japanese

Children’s Songs

3 Edwards, Ross

Marimba Dances

3 Helble, Raymond

Grand Fantasy

3 Musser, Clair Omar

Etude in CM Op. 6 No. 10

3 Skoog, Donald

Water and Fire

3 Tchaikovsky, Piano. arr.

Stevens

Album for The Young

3

Perf Year Composer Title Instrument Performer Comments Special

12/9/90 Abe Ancient Vase Marimba McNutt, Craig Graduate Recital Yale University

2/18/90 Abe Dream of the

Cherry Blossoms

Marimba Leonhardt, Todd Senior Recital University of Akron

Cherry Blossoms

Marimba Shiner, Kristen Faculty Recital Nazareth College of Rochester

Cherry Blossoms

Marimba Burbick, Sherri D.

Graduate Recital Kent State University

3/24/90 Abe Frogs Marimba DeBell, Roger C. Senior Recital Nazareth College

of Rochester

4/29/90 Abe Frogs Marimba Tychinski, Brian

A. No information given Indiana University of Pennsylvania 9/24/90 Abe Improvisations on Michi

Marimba France, Gary Solo Recital University of Austrailia

3/22/90 Abe Memories fo the

Seashore

Marimba Gilbert, David Graduate Recital Kent State University

5/2/90 Abe Memories of the

Seashore

Marimba Nelson, Carol No information given

Oberlin College Conservatory of Music

12/9/90 Abe Memories of the

Seashore

Marimba McNutt, Craig Graduate Recital Yale University

4/6/90 Abe Mi-chi Marimba Campbell, Quint

and Crabiel, Jon

Eastern Illinois University

(35)

Gregory given Commonwealth University

3/8/90 Abe Michi Marimba Shriver, Thomas

W.

Graduate Recital Ohio University

4/5/90 Abe Michi Marimba Selvaggio,

Frederick J.

Kent State University

4/30/90 Abe Michi Marimba Hall, J. Stephen Faculty Recital Cumberland

College

9/14/90 Abe Michi Marimba Eddington,

Alison

Student Recital University of Austrailia

10/1/90 Abe Michi Marimba Giannascoli,

Greg

Student Recital Virginia Commonwealth University

12/1/90 Abe Michi Marimba Campiglia, Paul Graduate Recital Indiana

University of Pennsylvania

2/9/90 Abe Prism Marimba Dinion, Steve Senior Recital Oberlin College

Conservatory of Music 4/14/90 Abe Variations of Japanese Children’s Songs Marimba Lapham, Timothy No information given Kent State University 1/17/90 Abe Variations on Japanese Children’s Songs Marimba Giannascoli, Gregory No information given Virginia Commonwealth University 5/5/90 Abe Variations on Japanese Children’s Songs

Marimba Hause, Evan Senior Recital Oberlin College Conservatory of Music

2/9/90 Abe Wind in the

Bamboo Grove

Marimba Dinion, Steve Senior Recital Oberlin College Conservatory of Music

3/22/90 Abe Wind In the

Bamboo Grove

Marimba Gilbert, David Graduate Recital Kent State University 10/1/90 Albeniz -

Stevens

Asturias Marimba Ford, Mark D. Faculty Recital East Carolina University

10/6/90 Bach Cello Suite No. 3 Marimba Kostowa,

Wessela & Giesecke, Mark A.

Concert Emmerichshofen

-- Germany

12/2/90 Bach Fuga from

“Sonata No. 1 in G Minor”

Marimba Tiller, Jimmy Performing Arts

Orchestra

10/1/90 Bach Prelude and

Fugue in Bb Major

Marimba Giannascoli, Greg

Student Recital Virginia Commonwealth University

5/5/90 Bach Sonata No. 1 in

A minor

4/28/90 Bach Sonata No. 1 in

G minor

Marimba Tait, Kristen No information given Kent State University 4/3/90 Bach, J. S. - Lambert arr. Partita II in E Major

Marimba Loggins, Stacy Senior Recital Cameron University

3/23/90 Bodine A Cross on

Wood

Marimba Lang, Drew Prescott

Arizona PAS Opening Concert

University of Arizona

5/5/90 Burritt Four Movements

for Marimba

2/5/90 Creston Concertino for

Marimba

Marimba Fowlkes, Shane and Bartelt, James and Boyd, Michael

Convocation Virginia Commonwealth University

(36)

Hall Arizona

7/28/90 Deanne Etude for A

Quiet Hall

Marimba Stacks, Jeff Senior Recital Eastern Illinois University

4/13/90 Edwards Marimba Dances Marimba Kellerman,

Steven and Wilczewski, Thomas

Senior Recital University of Arizona

9/14/90 Edwards Marimba Dances Marimba Eddington,

Alison

Student Recital University of Austrailia

10/14/90 Edwards Marimba Dances

in 3 Movements

Marimba Crimi, Mark No information given

SUNY Buffalo

4/21/90 Elster Four Pieces for

Solo Marimba

Marimba Battle, Marvin and Rustman, Kirk No information given Eastern Illinois University

Marimba

Marimba Deusterbeck Graduate Recital - date not given, assumed ‘90 in context

Eastern Kentucky University

Marimba

Marimba Baker, Gilbert Faculty Recital University of Central Arkansas

Marimba

Marimba Murphy, Mark Senior Recital Cumberland College

Marimba

Marimba Carney, Michael R.

Faculty Recital California State University , Long Beach

Marimba Marimba Bennekamper, M. Andrew No information given Indiana University of Pennsylvania 2/14/90 Fredrickson Four Patterns for

Solo Marimba

Marimba Snider, Larry Faculty Recital University of Akron

11/18/90 Frock Mexican

Variations for Solo Marimba

Marimba Kenss, Kevin and Battle, Marvin No information given Eastern Illinois University

3/1/90 Gipson Monograph IV Marimba Alsup, R. Byron Senior Recital Midwestern

State University

4/22/90 Gipson Monograph IV Marimba Chartier, Jeri and

Rosa III, Adan

Senior Recital Texas A & I University

4/5/90 Gipson R. D. H. Marimba Guthrie, John No information

given

Milliken University

2/25/90 Glassock Lydeka Marimba Feyler, David W. Senior Recital Kent State

University

3/4/90 Gomez Etude in D minor Marimba No information

given

Studio Recital University of Arizona

3/24/90 Gomez Gitano Marimba Murphy, Mark Senior Recital Cumberland

College

10/22/90 Gomez Gitano for Solo

Marimba Marimba Laughhunn, Todd No information given Eastern Illinois University

11/12/90 Gomez/Rife Rain Dance Marimba Gomez, Alice Faculty Recital San Antonio

College

5/6/90 Gwin The True

Lover’s Farewell

Marimba Cheng, Pauline Pui-Ling No information given Indiana University of Pennsylvania 11/28/90 Helble Grand Fantasy Marimba Strain, James A. Faculty Recital Fort Lewis

College

3/17/90 Helble Grand Fantasy

for Marimba

Marimba Campbell, Christi

Senior Recital Eastern Illinois University

1/17/90 Helble Grand Fantasy in

C Major Marimba Giannascoli, Gregory No information given Virginia Commonwealth University